Meg Giry is not an Alto!
by Britomartis
Summary: Erik Explains and other such drabble that annoys the purists.R and R. COMPLETE!
1. In which Erik bangs head on table

My dearest reader. I have a message from the opera ghost.

He regrets to inform you that he could not write this letter himself as at the moment as a fictional character he has no arms. However he has been looking over my shoulder and whispering in my ear. It has come to his attention that some of this 'fanfiction' uses a dramatic amount of incorrect musical knowledge. Erik informs me that he bangs his metaphorical head on the table at some brilliantly written fanfiction which provide the wrong information. So as Erik is feeling kind (and has nothing better to do) he has agreed to give some help to anyone who want some more information about performing a realistic opera at the Opera Populaire.

Metaphorical head bang Number One. Voice Parts.

Many many many writers mistake the voice parts that the characters would sing in.

For the record I am going with the character from the 2005 Movie as these seem to be the characters mis-used the most often. Erik has provided the most common characters with their Part and Fach. As I will prove Christine could not sing Carlotta roles properly.

What is a fach? (Taken from Aria database)

Fach originated as the system by which many opera companies classified voice. If a singer signed a contract with a company to sing a certain fach in the company, that singer would be responsible for singing all roles for the company that were designated for that fach. For that reason, fach is more specific than voice part and can be a better way of classifying voices.

What is Range?

Range is the amount of notes a singer can sing.

What is a voice part?

A voice part is a wide range of fach usually judged loosely round range.

Christine.

Now Christine is a difficult one. Although she overtook Carlotta's roles in the play in a real opera someone who played the role Christine could not sing the Prima Donna.

This is because of Christine's fach. Christine is a Soprano Soubrette.

Soubrette is a light voice usually a younger soprano, best in middle voice. As Christine is only 16 in the play she would not be able to sing like Carlotta. Erik will explain further although he is loath to admit the truth.

Carlotta.

Carlotta is a Dramatic Soprano is able to sing of a full orchestra but with a lower range. Unfortunate as it is there really was no one to replace Carlotta. Christine did well to do it one night. However as this is judged by the film I am assuming that in the book Christine would also have been a Dramatic Soprano. At 16. Remarkable, although Erik reminds me she was taught by a genius. Realistically Carlotta was the most accomplished opera singer although she decorated too much. Adds a whole new spin on the story doesn't it?

Meg Giry.

Erik wishes to tell you for God's sake Meg is not an ALTO!. Or in opera terms a Contralto. Technically a Contralto is a registered as a Mezzo Soprano in opera but that still does not make Meg one. Meg is a Mezzo- Soprano. Her Fach is a Lyric Mezzo- a lighter Mezzo voice. However Erik wishes to remind you that in no shape or form would make ever make in onto the stage as a singer until his body was dead and buried and held down with cement. She doesn't have the range. Please let her stay where she's happy in ballet.

Piangi.

Piangi is the lead tenor. His Fach is a dramatic tenor. Powerful able to sing over Orchestra. Most tenors at the time would have had his ummm bone structure.

Erik.

Erik would like to inform you that he is not as the film suggests a baritone and kindly asks that you do not write him in as one. He would also like to be seen as a tenor although I feel he would be better suited as a Lyrical tenor.

Raoul.

Erik would like to ask why in Gods name would you put the fop on stage. Apart from that he would say that Raoul was a lyrical tenor a strong but not heavy voice.

Original Characters: The greatest sinners of the lot.

If your character is the lead she has to be a dramatic soprano. There is no way she would get the role otherwise. Erik regrets to inform you that he can't kill the whole audience.

Mezzos cannot be trained to become high sopranos. Ever. Enough said.

Last but not least. It would be impossible for an actress to be Prima Donna and Prima Ballerina. Mainly because their legs would fall off, there are no opera's in which the lead would be both. Also because at the time the Prima Donna was usually… well built and would in no way be able to dance.

These are avoidance tactics to creating Mary Sues if you do not this you WILL get flamed.

In Summary.

Voice Parts from highest to lowest used in opera are.

Soprano.

Mezzo- Soprano

Tenor

Baritones/Basses.

Other Voice types some times used:

Male contralto/mezzo-soprano/soprano: Cast originally for Castrato men (balls chopped off so stay high). Sung by females or made lower so men can sing them.

Buffo roles: Written usually for men who couldn't sing very well but were good at acting.

Meg is not an alto.

Erik is not a Baritone.

Christine could not be Prima Donna at her age and ability.

There are other Fachs in each part if you are interested or want more information for your story feel free to email me and Erik will let you know more.

Some of my information was acquired from the Aria Database a really useful website. The rest was general knowledge. If you think anything is incorrect feel free to tell me.

Any reviews would be appreciated.

Note: I am correcting Music not grammar. Please don't kill for mistakes.

Next: The Opera and Aria's: Why Musicals and Show songs make Erik want to metaphorically drown himself in the lake.


	2. In which Erik loves his Handel

**Review Responses**

**Estelle Tiniwiel****: I've sent you an email.**

**mrs. Malfoy: Aim to please. Thank you very much.**

**The Common Wind Deity****: I agree with what you are saying. This went under a lot of debate because I could also see her as a ****_Lyric Coloratura_**** - like a soubrette with an upper extension to E6. My final decision was that I could see Emmy Rossum (who I judged on) singing Susanna in Marriage of Figaro Susanna is a Soubrette. I guess we'll never know. I basically needed to prove my Christine- Carlotta point Thanks for your feedback.**

**Lindaleriel****: I like Soubrette could fall under Lyric. As it stands I know 7 types of Soprano and Lyrical, Dramatic and Colouratura are the main. The others are mainly combinations and extras although some famous parts are Soubrette and another one of the 7 Spinto. Hope this helps. Ps I would favour Lyric but am a Dramatic so am biased ;)**

Warm ups, Performance Pieces and Pregnant Christine's

Metaphorical Head bang Number 2 the Singing Lesson.

As every good Erik knows it is impossible to even start singing something as complicated as opera without doing some basic warm ups. You can do something known as 'going in cold' which is when you just start singing without any warming up. However this is similar to jumping into a pool full of ice and swimming the 100metre back stoke without showering first. It is downright painful. On the other hand Erik reminds me in no way shape or form would he force Christine to do 2hrs of warms. There would be no benefit. Erik's ideal singing lesson would be about 30mins to 1hr and ending in marriage. This is why he never taught any men.

It is going to be incredibly difficult to describe how to do a warm up unless you understand notation. Never ever ever do you just get the singer to go up a scale and just stay there. THIS IS BAD FOR THE VOICE! Another thing, there is no C scale. Scales are either major or minor. A technically wrong way of seeing this is Major happy Minor sad. C major is the basic scale (just the white notes on the piano). Another common warm up scale is F Major (One flat on b) this is also a common key to sing in. Warm ups are usually in a certain key but not just going up and down the scale. This, Erik reminds me would be a pathetic excuse for a warm up and does not help the singer at all.

Here are some basic warms up I use with my choir:

1. Yawn then hold that position and make aahhhh sound from top to bottom of range then back up from bottom to top.

2. Staccato, legato, vibrato (sharp, smooth and wobbly!)

Start on MMM and sing the following pattern.

M

M M

M M going up, going down

M M the octave.

M m m m m

Then repeat on ee eh ah oh and oo.

3. 5 Note Run. Pronunciation.

On and on and on and on and on

Live and learn and live and learn and line

Chop and change and chop and change and chop

4. Tongue Twisters.

Repeat 8 times.

LIP, TEETH, TIP OF THE TOUNGE, THE TIP OF THE TONGUE THE TEETH AND THE LIPS

RIGHT AROUND THE RUGGED ROCK THE RAGGED RASCAL RAN

5. Range. Exercises that when used regularly will extend your vocal range.

5 note run down on kee sound

3 note run up and down on ee sound

Erik tells me there are hundreds more warm up patterns but those cover the basics. He understands that it is difficult if you have no or little musical knowledge and begs if you don't understand to ask.

Practise Pieces.

Erik would never in his right(ish) mind expect his pupils to launch into something really difficult straight away (like the jewel song). Most singing teachers have a range of easy songs to start a pupil off with. I have found a few which (as far as I know) fit the time boundaries of about 1870.

GOLDEN RULE 1: NEVER USE MODERN DAY OR SHOW SONGS

This is a one way ticket to Mary- Sue Ville. There were loads of excellent piece around at the time with plenty of emotion that reflect Erik well. There is no need to use modern day. Not even Moulin Rouge. Besides the fact that someone like Christine couldn't sing something like that anyway. Looong Story.

Here are a few easy pieces for Soprano and Mezzo in middle range.

Fairest Isle- A poem by Dryden Music by Purcell.

Since first I saw your face. Music by Ford. - I could so see Erik singing this to Christine. It is about love at first sight and how he with protect her. Used mainly for sight reading practise.

GOLDEN RULE 2: DON'T ASUME EVERYONE CAN SIGHT READ AND KNOW THE MUSIC STRAIGHT AWAY.

It is actually really difficult. Please don't patronise us. Moving on…

Verdant Meadows- G.F.HANDEL This aria from Alcina (1735) was written especially for the great Carestini. Like so many of Handel's arias it has survived the opera to which it belongs. Set in a simple form it is about nature and fairly tame.

GOLDEN RULE 3: LOVE YOUR HANDEL!

You can never go wrong with Handel. Although mainly remembered for writing church pieces he also wrote many operas and beautiful arias. As he was around the 1700's mark there is no way you can be accused of using something which was not written yet.

Art thou troubled? - G.F.Handel- From Rondelinda. Perfect for Phantom. Its like Erik's theme song. It's all about music solving all your problems and heartbreak a woman is mention.

Cradle Song- Frank Schubert. A lullaby.

Oh! The Oak and the Ash- Unknown. An unaccompanied folk song.

Lord of our being- G.F. Handel. From Rinaldo. Hymn.

If you search the names of the pieces and the composer the words should come up. Alternatively you can email and I'll get you the words. Some singers spend years just working on easy pieces to get them perfect. Erik says it worth the practice because if you can sing easy pieces you can sing anything.

GOLDEN RULE 4: CHRISTINES PREGNANT ALL ERIK'S HARD WORK GOES DOWN THE DRAIN.(Erik fumes)

A few notes. When a singer becomes pregnant because of the way the bay pushes on the diaphragm the voice gets higher (please don't ask for the science on this). Having a child can also ruin your chances of singing professionally because it can ruin your voice (again no science but I've seen it happen). There is no way Christine would be able to perform while she was pregnant. Christine would know this. It might also mean that she would not want to have a baby in the first place.

Summary.

GOLDEN RULE 1: NEVER USE MODERN DAY OR SHOW SONGS

GOLDEN RULE 2: DON'T ASUME EVERYONE CAN SIGHT READ AND UNDERSTAND MUSIC STRAIGHT AWAY.

GOLDEN RULE 3: LOVE YOUR HANDEL!

GOLDEN RULE 4: CHRISTINES PREGNANT ALL ERIK'S HARD WORK DOWN THE DRAIN.(Erik drowns himself in lake)

Well I intended to do into further details about operas and stuff but Erik reminded me about the importance of preparation and warming up. So next time I will go into detail about a few operas and the arias they have in them that could be used at the time with appropriate casting.

Please Review.


	3. In which Erik marries Figaro

**An: **

**18 reviews! For 2 chapters! Wow I never expected that. Thank you all so much. Still… Erik does like reviews. They make him less angry. Though I do like angry Erik. I like Reviews more.**

Nabira- Really? I never knew that. I did think thought that Gerry who was a baritone couldn't sing it either. (sighs dreamily) the real Erik could sing it though. And thanks you for the cold stuff I knew there was something I had forgotten. I can't remember If my since first I saw your face had chords. But I do love that song.

Phruity: Thank you for your review I'm glad I could help. (turns to brother) See I told you I was funny. The scary thing is Erik says it's true. Strangely he won't teach me…

BrokenFate: Yes It is the age old debate. I think as ALW cast him as a tenor he should be a tenor. Thanks for add me to your favourites (feels special)

Nota Lone: I live on awkward sentences. Or was that silences?. My parents always did want me to be in the police. Thanks for your review.

mrs. Malfoy: Thank you. Would this be seens as soon?

PhantomAngel22: Ok. Can I fisrt say wow!. This is the nicest review I have ever had. Finally, one of the extremely rare pieces worth reading on ffnet nowadays! I had to reread this to get the full grasp. Yes it is difficult to wade through the sues. However I finds it worth it for the real jems. I love Kristen too!. Cos Im from England I've never seen wicked but I ordered the cd and read the synopsis's. Thank you thank you thank you again.

X- Yes I'm sure about the pregnancy thing. I've seen it happen. But I did not say in all cases. It's just a risky thing to happen. But maybe worth it

Kathryn M.B. Denson: I can't find you email. Erik appreciates the hug. Such an attention seeker…That's what started be thinking of the Christine/lotta thing in the first place.

SporkGoddess: No worries. Lets all we can to stop the madness spreading. I was going by the film as that is where the disease is spreading most. The book is far more accurate. Interesting view on the emmy thing. What makes you say that?. Though she does have good low notes…

The Common Wind Deity: Yeah I tried to uses widely used warm ups. I used to play before I started singing then that took over. Its fun teaching yourself cos you can control the pace.

Estelle Tiniwiel: Thank you!. I should have emailed you back with info.

Unsigned: Glad to help.

Opera's

Many people stumble into phanfiction having little to no knowledge of operas which would have been performed in the phantom time frame. Of course the obvious choices to perform are Faust, Hannibal and Il muto. However Erik would like to stress that there are so many different operas that could have been performed at the time instead. He feels it adds a little something different to your story. In this chapter he gives a detailed description of The Marriage of Figaro by Mozart and all the useful information you would need to put on this delightful show.

Mozart is like Handel another safe bet as it was written way before.

Mozart started working on Figaro in 1785. He based the libretto (the script) on Beaumarchais' famous comedy, "Le Mariage de Figaro," which had lately been creating a stir in Paris. Erik would like me to tell you that when he read it did not cause a stir in him but no matter.

The scene is laid at the country-house of Count Almaviva, the character in whom the chief amusement of the opera centres. With accommodating notions of morality himself, he is very jealous of the conduct of his Countess, whom he suspects of being rather too fond of an over-grown page, Cherubino. The Count is carrying on a flirtation with Susanna, the Countess's maid; and the droleries of the opera hang to a large extent on the incidents thus afforded. Susanna is about to be married to Figaro, the Count's valet; but the Count offers her a dowry if she will meet him that evening. She declines, and Figaro presently appears, requesting the Count to honour his marriage by giving away the bride. The Count agrees, but delays the ceremony in order to renew his suit with Suzanna.

Meanwhile, Susanna has joined with the Countess and Figaro in a plot to discomfit the Count. An anonymous letter, written by Figaro, tells the Count of certain assignations which have been made for the evening in the garden. Various diverting contre-temps arise out of this plot; and further hilarity is created when Bartolo and Marcellina, an aged couple, enter. Bartolo had been rejected by Susanna, and Marcellina had been unable to excite the tender passion in Figaro. But Figaro had promised to marry Marcellina if he failed to repay her an old debt within a certain time; and the payment not having been made, she now comes to claim her bridegroom. The Count, delighted at this turn of affairs, promises that she shall get her rights.

It turns out that Figaro is the long-lost son of Bartolo and Marcellina. Then, in continuance of the plot above-mentioned, the Countess disguises herself as Susanna, and at the place of assignation, the Count ardently avows his passion to his own wife. He discovers his mistake and promises amendment, and he and the Countess mutually forgive each other their little flirtations. Figaro weds Susanna, and "all's well that ends well."

Summary taken in part from music with ease.

There are two types of Opera.

Opera Buffa- like said opera

Opera Seriousa- A tragedy

Vocal parts and Suggested Casting (at last Erik gets his way)

Count Almaviva- Erik believes he is a Tenor. Author thinks Lyric baritone. Chaos reigns. Erik would like to add that he is fully able to sing this part and not just because he wants to perve on Christine

The Countess Almaviva – Lyric Soprano. Erik wonders about the source as he always thought she was dramatic. Anyway this is a real Carlotta part. It would normally be played by an older woman.

Susanna,- Soubrette. Christine. Erik sighs and falls backwards knocking over a pile of full length mirrors.

Cherubino,- Lyric Mezzo. But not I repeat not to be played by Meg Giry.

Marcellina- Lyric Mezzo. Another older singer.

Barbarina- Soubrette. A Christine alike. Also known as a subtle way to not give your OC the lead straight away.

Don Basilio,- Buffo tenor. Comedy Tenor.

Figaro- Lyric bass. Not an Erik part.

Doctor Bartolo- Lyric bass.

Possible ballet might be scene 8 ballet dancers as villagers.

Useful Arias to be sung. The Opera was originally in Italian. Therefore the Aria titles are in Italian. Translation is available but as Erik found it is better to search in Italian.

The Countess Almaviva- Porgi, amor, qualche ristoro from Act 2. The Countess mourns because she believes the Count does not love her anymore.

E Susanna non vien!...Dove sono i bei momenti- Countess wishes her marriage was happy again. Does Erik feel an appropriate Raoul bashing song coming on?

Barbarina-

L'ho perduta, me meschina- Barbarina is worried because she lost the pin the Count gave her.

_**Susanna**_

**_Giunse alfin il momento...Deh vieni, non tardar-_** In order to tease Figaro, who thinks Susanna is cheating on him with the Count, Susanna urges the Count to come quickly to her.

Cherubino-

**_Non so piu cosa son, cosa faccio-_** After being dismissed from his position as the Count's page for being discovered alone with the gardener's daughter, Cherubino tells Susanna that, suddenly, every woman excites him to no end

**_Voi, che sapete-_** After Cherubino arrives in his new military uniform, he sings a plea to women to see how much love he has to give.

These are both fabulous Arias that could be used in lessons as well.

Marcellina-

**_Il capro e la capretta-_** Marcellina wonders aloud why birds and animals can love in peace, but a man always betrays his woman

Erik believes that covers all the famous women's arias. Ask for more info.

Costumes- Costumes would be similar to the style of dresses they wore in phantom. . For goodness sake don't put them in revealing clothing or trousers. I don't know what they were thinking in the film. Erik does. He bribed them. Cherubino would be like a pantomime boy. In pictures I have seen he is dressed as such.

I hope all this information has helped. This is a greatly loved and popular Opera that would have been performed at the time.

A few more technical notes.

Recently I have learned that singers are recommended not to drink any spirits.(I hadn't had a singing lesson in 2 months and it looks like no more alcohol for me while I go pro) This is because it dries out the throat. Therefore Erik would not drink much or offer Christine drink.

Thank you to Nabira who reminded me of something else as well. If a singer has a cold they do not sing. They do not practise. I have been sent home before because I had a cold. Or a sore throat. If you do this ruins your voice .I know people to whom this happened.

Also in connection to range and mezzo's never being able to sing top notes. If singers hit above their range it can ruin their voices. Erik would never push Christine's voice. Ever. In fact the reason he sang Music of the Night was to shut her up and stop her hurting her voice. Oh and because he was seducing her. Of course.

I think that just about covers it. Tell me if there is any other aspects or Opera you would like to know about. When I think f something else I will update may add more to this chapter later.

Please Review.


	4. In which Erik destroys the interval

An: I just checked and I can't believe 401 people have clicked on my story. I just intended this to be one or two chapters but it has progressed. Also 27 reviews for 3 chapters. Would it be embarrassing to say that I got38 reviews for my 1 chapter LOTR story. I love phans even if it doesn't seem like it.

Review Response. (Remember I answer every Review)

Kathryn M.B. Denson: Yeah I agree. Although I kinda scared my friends when I said my perfect man would have to kidnap me and force me to love them. Although they would have to be Erik and a musical genius. I don't ask for much ;). I got your email but I haven't replied yet I've been busy. I will this weekend though.

Ilsa: I agree with you. On all counts although it would be a lot easier to hate Gerry Butler if he didn't look so good in the mask. It would have been good as a silent film. I believe that it's the way the baby can sometime press on the diaphragm but it depends on the person. Its just a bit of a risk.

GAKDragonMCP: Wow you must have spent a lot of time on those review. It's really interesting your own vocal history. That happened to me but backward. Shame really. I think its so stupid smoking and singing. Look at charlotte church (if you know her). With the sight reading I was talking more about Mary Sues eg the mutes who the minute they look at music having never seen notation before they can sing. I had to learn Sof feg as well and found it didn't help I'd rather just go a b c d as it's the same thing. You know all you've said is really useful. All I intended to do was touch on the basics. But all you've said is really great. I hope people do read your reviews.

Phruity: Well I've never been a hero before. (Gloats)

RozzandMaya: I agree although I was talking mainly about ALW phantom. Funny you talk of stringing ALW on a tree. I might borrow that. (read chapter 5;) I've always wanted to break something while singing. With my voice I mean.

mrs. Malfoy: Sorry this isn't soon.(glares) stupid school.

The Common Wind Deity: Ah woodwinds. I learnt an important lesson playing flute. Orchestral and solo are two very different things. I mean I had problems with when the saints go marching in for god's sake.

Please do review.

This chapter is a bit disjointed as I wanted to fit a lot of different things into it. If the start doesn't interest you scroll through. I killed another opera at the bottom.

As always I believe this is right to the best of my knowledge

**A few musical terms. (descriptions) **

Ah yes. Another way of confusing anyone who actually understands what you are saying. Musical terms for things are written commonly in Italian. They often appear in shorthand in musical scores. Composers sometime use terms as a name for their piece e.g. Adagio. Of course this is very important in Opera as the cast have to show a variety of emotion through there voices. This is I believe, one of Christine biggest problems. As she does not have a great amount of tone and technique which comes which age Erik would spend a great amount of time working on her expressiveness so she is able to use more than one expression (cough Emmy Rossum cough). Here are a few simple musical terms which might prove useful.

Acapella – One or more vocalists singing without any accompaniment

Adagio – A tempo (speed) slow, restful at ease.

Allegro -A direction to play lively and fast.

Atonal- Musical without a key e.g. A minor. I've always seen Erik writing atonal musical as I do not think he would allow himself to be bound by musical laws.

Cadence – Series of chords that end a phase, this could be at the end of a piece. Types include perfect, imperfect, Plagal and interrupted.

Capriccio – a quick improvised piece of music. (Spirited)

Coda – closing section of a movement

Drone – dull monotonous note. Bass

Dynamics – loud or soft. Also used in sheet music arrow pointing forward getting wider or backwards getting smaller.

Energico – Play energetically

Espressivo – Perform expressively (cough Christine cough)

Expressionism -Atonal and violent style used as a means of evoking heightened emotions and states of mind. (Erik clears throat loudly) Oh wait I forgot he was fictional again. Erik you have no throat.

Flat -A symbol indicating that the note is to be diminished by one semitone. Going flat is when a singer does this accidentally. This is common.

Forte – Symbol meaning play loud.

Glissando – Sliding between to notes. Use this wisely or sound like siren. (Old Japanese's proverb)

Grandioso – Play grandly.

Grave –Speaks for itself really.

Key signature -The flats and sharps at the beginning of each staff line indicating the key of music the piece is to be played

Legato – Play smoothly.

Libretto -A book of text containing the words of an opera.

Maestro -Refers to any great composer, conductor, or teacher of music. (Loud throat clearing noise) Erik you still have no throat.

Obbligato -An extended solo, often accompanying the vocal part of an aria.

Ostinato -A repeated phrase.

Hmmmm this list was meant to be short wasn't it?

Piano – Play softly. Shown in music with a p or two ps. Mind your p's and q's. (Sorry couldn't help it)

Portamento -A mild glissando between two notes, for an expressive effect.

Presto – Direction in sheet music. Very fast,

Rubato- An important characteristic of the Romantic period. It is a style where the strict tempo is temporarily abandoned for a more emotional tone.

Slur -A curve over notes to indicate that a phrase is to be played legato.

Staccato -Short detached notes, as opposed to legato.

Trill -Rapid alternation between notes that are a half tone or whole tone apart. (Cough Carlotta cough)

Verismo -A form of Italian opera beginning at the end of the 19th century. The setting is contemporary to the composer's own time, and the characters are modelled after every day life.

Vivace – Play brisk and lively.

Erik thanks you for staying with us. Or just scrolling through. Use these terms wisely. If in doubt look them up. Or you can email me. Erik doesn't mind. His inbox gets rather lonely.

My that sounds worse than I meant it.

Opera Number 2: _La Travolta by Verdi_

_La Traviata premiered in 1853 so we are safe. However with Verdi's operas it is always worth checking as some of them were performed later than 1870._

_Story_

_Set in Paris in 1850 this makes the story hit a little close to home which makes it a good choice for the opera Populaire._

**Violetta Valéry,** Dramatic _Soprano,_ a Courtesan – Carlotta.

**Flora Bervoix,** _Mezzo-Soprano,_ her friend

**Annina,** _Soprano,_Violetta's maid

**Alfredo Germont,** Lyric _Tenor,_Violetta's lover Could be sung by Erik

**Giorgio Germont,** Lyric _Baritone,_ his father

**Baron Duphol,** _Baritone,_Violetta's protector

**Gastone,** _Tenor,_ Viscount de Letorières.

**Marquis d'Obigny,** _Bass,_ Flora's protector

**Dr. Grenvil,** _Bass,_ Physician

At a party in Violetta's house, Alfredo is introduced to Violetta whom he has admired from a distance. Together they offer a toast to the revellers. The crowd leaves to dance, but Violetta, who feels faint remains. Alfredo joins her and expresses the deep concern he feels for her. She cuts him off telling him to look for love elsewhere. Alfredo begins to leave when Violetta gives him a flower and tells him to come back when it is wilted - tomorrow.

Five months later, Violetta and Alfredo have moved to a country house near Paris. Annina, who has been absent, returns and informs Alfredo that she has been away to make arrangements to sell her mistress' belongings to pay for her new life here with him. Alfredo leaves to secure money so that Violetta does not have to. Violetta arrives and soon after, so does an invitation to a party at Flora's that evening. A visitor arrives who announces himself to be Alfredo's father. He questions her virtues, but at the same time is impressed by her lady-like manners. She shows him the receipts of the sale of her belongings which helps to establish her as a lady of dignity and character instead of a fortune hunter as Giorgio first believed. She tells him that her love for Alfredo has redeemed her, but Germont says she must sacrifice Alfredo. It seems that Alfredo's scandalous affair with her has made his sister's chance for a respectable marriage very slim. Violetta refuses to give Alfredo, up but the elder Germont persists. She finally gives in and after Germont leaves, she writes a note for Alfredo.

Suddenly, Alfredo appears and she begs him to love her as she leaves for Paris and Flora's party. Moments later, Alfredo receives the letter from a gardener and realizes that his dream has ended. The elder Germont arrives to comfort Alfredo, but when Alfredo finds the invitation to Flora's party, he rushes off to the party. Full of rage, Alfredo denounces Violetta in front of the guests. Remorseful and shamed, he leaves. A month later, they are re-united after the elder Germont tells Alfredo of his earlier request of Violetta to leave him. The re-union, however, is short-lived as Violetta's succumbs to consumption.

_Taken in part from Classic net. _

_This is not a Christine friendly opera though I suppose she could sing the maid. (Evil grin) She could not sing Violetta._

_AND ALTOGETHER NOW._

_Random Voices: MEG GIRY COULD NOT SING FIONA!_

_Exactly. One last thing._

_The infamous interval._

_Oh how many times I have seen this in phanfiction._

_ Usually there is not just one interval. As you may have observed in many operas there are more than two acts. Here is an example of what patrons might do if they were seeing Othello. _

_Arrive at Opera house._

_Act One _

_Drinks_

_Act Two _

_5 Course gala dinner. (Where the name comes from)_

_Act Three_

_Nobility go home. They come for the social side._

_Act Four._

_Meeting with cast. Ballet girls….._

_You have no idea how irritating it is to see just interval and home. That was not what it was like. IT was a full experience and still is._

_I think there will just be one more chapter. I have covered all that I wanted to and if I carried on I would just be rambling. Which is what I do already? Erik apologises for not being in this chapter much but he was writing my coursework for me as I decided to give him hands. He would just like to say that Science is hard and acid burns._

_Please Review. _


	5. In which Erik strings Andrew up on a tre

**Review Responses**

As always a big thank you for reviewing.

Polly Moopers: Grammar is not a strong point. Mezzo's can sometime sing just a high or higher than some sopranos. Its more about the depth and tone of your voice. Also where you sing most comfortably.

Estelle Tiniwiel: Thank you! I've started your story. Its really good!. I will be following.

mrs. Malfoy: Thanks again!. Soonish update!.

The Common Wind Deity: Oooo. 14hr day!. Painful. Glad I cheered you up though.I didn't notice I didn't have sharp. I will try and change. I mention a bit of the whole book issue in this chapter.

Lsa: Yeah there are a reasonable amount with two. I was mainly commenting that not all had two.

scorpion's muse: Thank you. That's what the story was aimed for.

Nota Lone: Hmm (looks around) I find les mis like that as well. Shot in head and still has chance to sing a duet. Don't worry bout cold. I say a concert while coughing blood and nobody noticed. It just depends.

Nabira: I've always said do what you want cause no one else is gonna do it for ya. Science isn't terrible . Im just over dramatic. Useful about time. I was mainly referring to film thought cause that's always accurate!. I love the magic flute as well. And am going to see it!. Every christas I get a cold and still have to sing cause I promised. Life sucks!.

Review review.. (Its your last ever ever chance)

This chapter is completely different to anything else. I don't really hate ALW THA much.

**In which Erik strings Andrew up on a tree**.

Once upon a time in a far away land….

Well not that far away really… Not if you lived in England…..

Allow me to start again

In a hole in the ground there lived a hobbit….

Nope. That doesn't fit in which the plot.

I'm really not a writer. Forgive me…

Andrew Lloyd Webber sat finishing his dinner at an amusingly large dinner table. However it was not a large meal. More of an evening snack really. He was humming to himself. As all composers do. Alive ones anyway. He had just been to see the afternoon performance in London of one of his shows.

Phantom of the Opera in case you were wondering.

Suddenly from above he heard a terrible scratching noise.

"That's strange" Andrew mused. "I haven't seen my ex wife in ages"

He heard the scratching noise again. Looking upwards he saw a black shadow covering his sky light. Just as he was about to fetch one of his servants the glass broke. The black shape tumbled through the frame and landed on the table.

Andrew looked at the shapes face.

"Gerald!"

The shape regained himself. He drew himself up his full height. Laughing manically he cried.

"She gave me arms and legs and a body!"

Andrew was confused.

"Gerald is that really you? I haven't seen you since the premieres. Why are you in costume again?"

The man shuddered.

"No I am not this Gerald of which you speak. Unfortunately since the film was the first thing my mistress saw. I assume the shape of this man. No. I am Erik!"

Andrew was puzzled.

"Who"

Erik sighed.

"Oh yes. You were never kind enough to give me a name" Lightening flashes. "I am THE PHANTOM! And you're Angel of Death!"

The man called Erik jumped off the table and swiftly tied Andrews hands together with a cunningly disguised piece of rope. He spoke.

"Come we must go swiftly. The OC is on later"

"Go where?" Andrew asked.

Erik replied as if rehearsed. "My lair of torment and your doom"

Andrew nodded.

Erik pulled him over to a full length mirror at the side of the dining room. Pushing aside the glass he opened up a passage sloping downwards.

"You'd think the estate agency would have mentioned something like this"

"Oh don't worry. This was just recently added to fit in with the plot"

Erik led him downward. Andrew noticed that the route was identical to the set for the film he had made. Quietly in an out of tune voice he began to sing.

"In sleep he sang to me…"

"Silence!" The man roared. "I will not hear the voice strainer anymore"

He continued. "While you are silent you might as well listen. It has come to my attention that most of the errors conducted in fanfiction are by people who have just watched the musical or book. Drawing conclusions together. I worked out the route of the problem. You."

Sputtering Andrew began. "I don't think…"

Hissing Erik stopped him. "Be quiet. IT would you who cast this tuneful. Yet handsome. Man to play me. In the film. Now many people are under the impression that I am a baritone. I mention in the book that I am a tenor. Did you even read the book?"

Andrew went red.

They had now reached the edge of a lake. Erik pushed Andrew into boat and climbed in himself. He carried on.

"No? I didn't think so. Secondly Christine and Carlotta able to sing the same voice parts? What were you thinking? I preferred Carlotta's voice. That's what you have driven me too! And IL Muto. A complete con on the Marriage of Figaro. The whole pageboy thing. Was over 100 years ago. Mozart was a Genius. You are not. And another thing. Don Juan. Past the point of no return. Disgusting. Shameless. Why was I not cast? The costumes were too revealing. And why does everybody think Meg Giry is an Alto? That's what happens when you cast an ex soap star. And were there electric guitars around? I don't think so. And why does everyone think the fop can sing? "

With a thud the boat hit the other side of the lake.

Erik pulled Andrew out of the boat and through his lair. Andrew tried in vain to calm him down.

"I am very sorry. Perhaps I can redraft? Why don't we go back upstairs?"

They had reached a door. Erik whirled round.

"Why dear Lloyd Webber. Why? Because I have a better idea."

He unlocked and opened the door.

The room was full of mirrors and yet it looked like a metal jungle. In the middle was a metal tree.

Erik sighed. "Home sweet home. You look confused sir. Ah yes you haven't read the book have you?. All the better." He pointed "See that tree"

"Yes"

Erik beamed.

"Well. I am going to string you off of it"

"You are going to string me off of it?" Andrew quavered.

"Yes. At the wonderful request of the reviewers. I am going to string you off of it."

Erik pulled Andrew up against the tree and tied him to the tree by his neck and stomach.

Andrew squealed. I would say like a girl. But that would give him too much credit.

"Please!. No! Anything! I only wrote it in the first place because I thought it would make women like me!"

However this seemed to only enrage Erik.

"HAD YOU READ THE BOOK YOU WOULD KNOW THAT THAT WOULDN'T WORK!"

He stormed toward the door. Turning one more time he roared.

"LOVE YOUR HANDEL" before he slammed locked and bolted the door from the outside.

Andrew struggled in vain against his bonds. The room seemed to spin round. And it was getting hotter. He yelled angrily one last time.

"IT COULD HAVE BEEN WORSE. I COULD HAVE WRITTEN YOU AS A WOMAN AS I WAS GOING TO ORGINALLY"

Erik mournful voice answered. The dispassion was clear in every syllable.

"That's been done"

The End

Its over. I finally finished a story!. Be it a short one. Please Review at the end. I would like to make it to 40!.

Thank You's

Thank you to anyone who reviewed at any point. It was great encouragement and the biggest review/chapter ratio I ever had!.

Secial Thank you to all the people who reviewed regularly.

Estelle Tiniwiel, mrs. Malfoy, The Common Wind Deity, ilsa, Nota Lone, Nabira, Kathryn M.B. Denson, GAKDragonMCP.

I recently started a C2 dedicated to musically accurate fanfiction. (what genre) modern day etc. If any of you want to be staff I would be really grateful. Email me or leave a message in your review if you are.


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